makamlar

Makamlar are a foundational concept in Turkish classical music, referring to a system of melodic organization used especially in Ottoman and contemporary Turkish traditions, as well as in related Azerbaijani and regional practices. A makam defines the melodic material for a piece or improvisation, shaping which pitches are used, how they relate to a central pitch, and the emotional or rhetorical color of the music.

Each makam provides a framework that typically includes a central pitch (the tonic or kök), an associated range, and a set of intervals that may include microtonal steps beyond the Western equal-tempered scale. In addition to the scale, a makam prescribes characteristic melodic motions, cadential phrases, and common motives that give a composition its recognizable shape. While the exact rules can vary by tradition and lineage, the makam remains the organizing principle that guides both composition and improvisation.

In performance, makamlar are exploited through composed pieces and through improvisation, notably taksim, where a musician freely explores the makam within its allowed notes and phrases. Other important forms in Turkish music, such as peşrev, saz semai, and aktarma, are also rooted in makam-centered practice. Performers may modulate between makams within a larger work, creating contrast and development across sections.

Commonly cited makamlar include Rast, Uşşak, Hüseyni, Hicaz, Segah, Nihavend, Buselik, and Kürdilihicazkâr, among many others. The makam system is a core feature of Turkish classical music theory and pedagogy, shaping repertoire, performance practice, and stylistic identity.